Summary:
Chapter 8 in Rendering 3D Worlds - 3D Geometric Graphics II by Spalter & Wesley and articles Once and Future Graphics Pioneer & Once and Future Graphics Pioneer Part II by Novitski discuss 3D rendering with regard to materials and lighting. Spalter & Wesley’s writing delves more into the current state of 3D rendering technology, while Novitski looks at the future state of 3D rendering by investigating the innovation technologies Cornell University’s Program of Computer Graphics offers.
Materials and lighting all play important roles for rendering photorealistic products and environments. A textured material surface is achieved through texture mapping, applying a 2D image to a 3D modeled surface (Spalter & Wesley, 1999). 3D painting allows users to paint/draw a 2D texture map onto a 3D object’s surface (Spalter & Wesley, 1999). Displacement mapping changes the configuration of the object’s geometry (Spalter & Wesley, 1999). Bump mapping identifies the relief of a material (Spalter & Wesley, 1999). There are times when it is necessary to display a materials inner material, such as in a cross section view. The application of a solid texture implies a material existing throughout an object (Spalter & Wesley, 1999). All of the above modeling and texturing techniques are further transformed through the use of 3D modeling lighting applications. The type of lighting, a viewer’s perspective to the lit object, the material of the object, and the geometry of the object/material all influence how light is dispersed on and object or in an environment (Spalter & Wesley, 1999). Ray tracing produces an end result lighting quality, based on only the rays that will reach the eye, by bouncing light off surfaces (Spalter & Wesley, 1999). Also, the type of lighting and characteristics of the material surface determines shadows viewable with the eye (Spalter & Wesley, 1999). The research at Cornell’s Program of Computer Graphics combines ray tracing and radiosity for achieving a more successful photorealistic model (Novitski, September 13, 2000).
Contextualize:
The ability to create a photorealistic 3D rendering has many uses for interior architecture. The realistic quality enables designers to see how a product image from their imagination comes to life and translates into an environmental setting. The more realistic the portrayal, the greater the accuracy for a final end product to appear as it was intended too.
Argument:
3D rendering applications change the workflow of a design. A truly realistic product/environment presentation allows for designers/manufacturers/engineers to identify and resolve issue that normally would only be apparent during a later project phase. This implies a process of designing and manufacturing that is more cost effective. However, if a 3D modeling program normally used for simply and quick envisioning of a product produces photorealistic images, communication between designers and clients could be misinterpreted.
Evidence:
The Program of Computer Graphics at Cornell University utilizes and helps to create some of the most innovative 3D rendering technology. During 2000, Professor Moreno Picolotto was developing a digital sketch pad that would allow designers to collaborate at the same time, via internet, on the same project (Novitski, September 13, 2000). The ability to simultaneous digitally design with others, cuts down on design time, printing, emailing, etc. ultimately contributing to a faster problem solving and productive workflow. Applications like these provide designers with a clearer sense of feedback (Novitski, September 20, 2000).
References:
Novitski, B. (2000a, September 13). Once and Future Graphics Pioneer. Architecture Week. Retrieved February 13, 2011, from http://www.architectureweek.com/2000/0913/tools_1-1.html
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